THE INVISIBLE ONES, 98min., Germany
Directed by Matthias Freier
As one of the first women to join Hamburg's homicide squad in the 1990s, Marianne Atzeroth-Freier, almost single-handedly, convicted the „acid barrel murderer“, who went down in German history as one of the most horrific murder cases.

Get to know the filmmaker:

1. What motivated you to make this film?

It was important to me to tell the story of my stepmother. I felt the need to retell her journey as one of the first women ever to join the Hamburg homicide squad. The image of women back then was still frighteningly old-fashioned and reminded me more of the 60s. By taking Janne's perspective, I think I've contributed something new to a case that has already been told a thousand times. It was also important to me to show the victim's perspective. I'm talking about a community of fate that emerged as a result of the case and to which Janne also belonged. I wanted to talk about that community because they don't get a voice in normal true crime formats.

2. From the idea to the finished product, how long did it take for you to make this film?

25 years ago I started talking to Janne about the case and her career. Preproduction and shooting took us 2 years.

3. How would you describe your film in two words!?

True Healing

4. What was the biggest obstacle you faced in completing this film?

My stepmother solved the case by listening to the victims and their relatives. I believe that we can learn more from this perspective than always looking at the murderer. The greatness and strength that Christa S. showed to get out of the bunker alive impresses me. Also that the mother Magarete R. didn't stop fighting for her daughter and thus got the case rolling. Thomas B knew who the perpetrator was and was turned away by the police. These are simply the more empathetic, more human stories. We have all felt helpless and at the mercy of others, and be it as children. We like to conceal and suppress this fact, nobody wants to take on the role of victim. But I believe that we have to look at this in order to learn something about ourselves. It seemed more appropriate to me to tell the story from this perspective.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I lived in the US for 6 years and it was great to hear these comments about my film, touching down with that culture. There is a lot of talking in the film, which means reading a lot of subtitles for an US audience. I was grateful that the viewers made that effort and loved every second of it.

6. When did you realize that you wanted to make films?

Marianne Atzeroth-Freier will always be "Janne" to me, she was my stepmother. I was 8 years old when my father got together with her. When I was with her and my father, she always went out of her way and was very obliging, but at the same time rather cautious and reserved.
In the second half of the 90s I lived in New York and when I moved back to my hometown of Hamburg, I went to visit them. Since I didn't have any furniture for my new apartment yet, Janne told me about a brand new folding couch that she could have through one of her cases.

I still remember the stately, friendly woman when the three of us picked up the couch. It was Margarete Röhl, the mother of the victim Annegret Bauer.
Annegret had ordered the couch with her partner Thomas B. at the time. It was still packaged, with floral patterns on white, it would have fitted in well in Costa Rica.
It was because of this folding couch that Janne first told me about her case and I was immediately fascinated. "It's like a movie," she kept saying, recounting excerpts and giving me the file and other background material. By studying the file on Lutz Reinstrom, I was able to retrace the path of the couch weeks later. During the time when Annegret was tortured to death by Reinstrom for weeks in the bunker, he picked up the couch in her name and took it to his shipping company for the flight to Costa Rica. A note from her mother Magarete Röhl was attached to the couch at the time, asking her daughter Annegret to finally get in touch with her, she was worried. Reinstrom then forced Annegret to reply to this message in writing in the bunker; it was the last contact between mother and daughter.
Reinstrom's ice-cold audacity amazed and shocked me again and again - and I had to get rid of the couch immediately. But I couldn't let go of the case.

I started interviewing and questioning Janne, and the glimpse into her working world revealed to me a straight, honest woman who has made many sacrifices in her career from the Hamburg police to the higher ranks. For me, the case is only bearable through her point of view.
Janne wanted me to tell this story through her eyes and of course she also wanted her work to be appreciated. I wanted to give her that with this documentary.

7. What film have you seen the most in your life?

Hard to say. I think it must be Blues Brothers, Shining and Groundhog Day

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

For me it was a bit abstract, because I didn't know what to expect. I submitted through Film Freeway and than got an email that it was over : )

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

So far so good.

10. What is your favorite meal?

Pasta in all forms and shapes and toppings

11. What is next for you? A new film?

Right now the film got released in Germany, so I'm touring a bit, talking to the audiences. I'm also preparing the next documentary with an environmental topic.